DOCSLIB.ORG

(Hons.) Karnatak Music (Vocal/ Instrumental) Submitted to University Grants Commission New Delhi Under Choice Based Credit System

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Syllabus of B.A. (Hons.) Karnatak Music (Vocal/ Instrumental) Submitted to University Grants Commission New Delhi Under Choice Based Credit System CHOICE BASED CREDIT SYSTEM 2015 DEPARTMENT OF MUSIC FACULTY OF MUSIC & FINE ARTS UNIVERSITY OF DELHI DELHI-110007 1 CHOICE BASED CREDIT SYSTEM IN B.A HONOURS KARNATAK MUSIC (VOCAL/INSTRUMENTAL) Semester CORE COURSE (14) Ability Skill Elective: Discipline Elective: Enhancement Enhancement Specific DSE (4) Generic (GE) Compulsory Course (SEC) (2) (4) Course(AECC) (2) I C 1 Theory: General (English/MIL GE-1 Musicology Communication)/ C 2 Practical : Stage Environmental Performance & Science Viva-Voce II C 3Theory: Environmental GE-2 Theory of Indian Music Science/(English/MI C 4 Practical : Stage L Communication) Performance & Viva-Voce III C 5 Theory: SEC-1 GE-3 Indian Musicology C 6 Practical : Stage Performance C 7 Practical : Viva Voce IV C 8 Theory : Indian SEC-2 GE-4 Music C 9 Practical : Stage Performance C 10 Practical : Viva Voce V C 11 Theory: *DSE-1 Indian Music Vocal/Instrumental C 12 Practical : Stage /Karnatak/Percussi Performance & Viva on Music: Voce (Tabla/Pakhawaj) *DSE-2 Vocal/Instrumental /Karnatak/Percussi on Music: (Tabla/Pakhawaj) VI C 13 Theory : Study of *DSE-3 Hindustani Music Vocal/Instrumental C 14 Practical : Stage /Karnatak/Percussi Performance & Viva on Music: Voce (Tabla/Pakhawaj) *DSE -4 Project Work: Vocal/Instrumental /Karnatak/Percussi on Music 2 *These courses shall be offered to the students of B.A. Honours, other than their own discipline. Syllabus for B.A. (Hons.) Karnatak Music ​ VOCAL/VIOLIN/VEENA - Choice Based Credit System Total Marks Credits SEM-I Course-101 : Theory 75+25 = 100 4 Course-102 : Practical 75+25 =100 8 SEM-II Course-103 : Theory 75+25 = 100 4 Course-104 : Practical 75+25 =100 8 SEM-III Course-105 : Theory 75+25 = 100 4 Course-106 : Practical 75+25 =100 8 Course- 107 : Viva-Voce 75+25 =100 8 SEM-IV Course-108 : Theory 75+25 = 100 4 Course-109 : Practical 75+25 =100 8 Course 110 : Viva-Voce 75+25 =100 8 SEM-V Course-111 : Theory 75+25 = 100 4 Course-112 : Practical 75+25 =100 8 SEM-VI Course-113 : Theory 75+25 = 100 4 Course-114 : Practical 75+25 =100 8 1400 88 3 Syllabus for B.A. (Hons.) Karnatak Music 2015-2016 VOCAL/VIOLIN/VINA - Choice Based Credit System IST SEMESTER Marks – 75 INTERNAL ASSESSMENT – 25 Total – 100 Course – 101 Theory-I Credits-4 General Musicology 1. Nada, Sruti, Swara, Vadi, Samvadi Definition and brief explanation of a) Nada – Ahata and Anahata Nada, Varieties in Ahata Nada b) Sruti – Nyuna, Pramana & Purna sruti c) Swara – Prakriti and Vikriti swaras, swara sthanas, d) Vadi, Samvadi, Anuvadi, Vivadi e) Tala, Laya, Kalapramana 2. Raga Lakshanas of prescribed ragas. 3. Raga classification – Janaka, Janya system, Varja & Vakra, Bhashanga, Upanga, Panchamantya, Dhaivatantya, Nishaadantya 4. Scheme of 35 talas, chapu tala and It’s varieties shadangas 5. Introduction to notation, melody, polyphony, harmony 6. Life and contribution of Musical Trinity 7. a) Classification of musical instruments in general b) Construction, tuning and playing technique of Tambura/Vina/Violin. ​ Practical-I Course – 102 Stage Performance and Viva Voce Marks – 75 INTERNAL ASSESSMENT – 25 Total – 100 Credits – 8 1. Simple Varnams in 2 degrees of speed. 2. 3 kritis of Tyagaraja, 2 Kritis of Muthuswamy Dikshitar, 1 kriti each of Syamasastri, Subbaraya Sastri, SwatiTirunal, Patnam Subramanya Iyer. 3. Prescribed Ragas, Shankarabharanam, Mohanam, Bilahari, Kharaharapriya, Pantuvarali, Kalyani, Kedaragowla, Keeravani, Anandabhairavi. Recommended Books for SEMESTER-I 1. Dictionary of South Indian Music Prof. P. Sambamoorthy 2. South Indian Music , Book –II - Prof. P. Samabamoorthy, Page No 19 3. South Indian Music , Book-III, Prof. P. Sambamoorthy, Page No. 105-107 4. Raga Classification – Page No. 1-18 Books-III, Book II Page NO.416, Book-II page 138 to 152 5. Sruti Vadyas- Sambamoorthy Page No. 52 to 89 6. Great Composers- Page No. 28 to 35, 66 to 94, 126 to 153 7. Ragas in Carnatic Music- Dr. S. Bhagyalakshmy , Page No. 81 to 365 8. Raga Nidhi – B. Subha Rao –Vol 1,2,3 & 4 9. Comparative Music – Dr. Gauri Kuppuswamy , Page 88 to 110. 10. The music of India- H.A. Popley- Page 98 to 124 4 IIND SEMESTER Course-103 Theory-II Marks – 75 Theory of Indian Music INTERNAL ASSESSMENT – 25 Total – 100 Credits – 4 1. Gamakas – Panchadasa and Dasavidha gamakas, Alankaras and its varieties, Kaku and its varieties 2. Ragalakshanas of the prescribed ragas 3. Scheme of 72 melakarta 4. Detailed study of Tala Dasa Pranas 5. Explanation of Melody, Polyphony, Harmony, Accoustics, pitch 6. Life History of Annamacharya, Kshetrajna, Narayanatirthar, Patnam Subramanya Iyer, Poochi Srinivasa Iyengar, Arunachala Kavirayar, Gopala Krishna Bharati, Jayadeva. 7. Notation of varnams in two degrees of speed, in Adi tala. Practical-II Course – 104 Stage Performance and Viva Voce Marks – 75 INTERNAL ASSESSMENT – 25 Total – 100 Credits- 8 1. Simple varnam in 2 degrees of speed. 2. 3 Kritis of Tyagaraja, 2 Kritis Dikshitar including 1 Navagraha Kriti, 1 Kriti each of Swati Tirunal, Syama Shastri, Ramnad Srinivas Iyengar. 3. Ragas prescribed:- Arabhi, Vasantha, Abhogi, Hamsadhvani, Shanmughapriya, Purvi Kalyani, Simhendra madhyamam, Kanada, Sudha Saveri. Recommended Books for SEMESTER-II 1. South Indian Music , Book-IV, Prof. P. Sambamoorthy, Page NO. 133 to 145 2. South Indian Music , Book-III , Prof. P. Sambamoorthy , Page NO. 38 to 68, 169 to 185 3. Comparative Music- Dr. Gauri Kuppuswami, Page NO. 70 to 100 4. Great Composers Book-1- Page Nos. 36 to 52 5. Great Composers , Books-II- Prof. P. Sambamoorthy Page 89 to 164. B.A. (H) IInd year IIIrd Semester Course - 105 Theory-III Marks – 75 INTERNAL ASSESSMENT – 25 Indian Musicology Total – 100 ​ Credits - 4 1. Historical Study of the following musical forms: Grama, Murchana, Jati, Anibadha, Nibadha. Marga, Desi, Gandharva. 2. Raga classification through ages from vedic times to period of Matanga. 3. Patronage of Music – Kings, Chieftains, Zamindars. 4. Biographies: 5 Vocal- Purandara Dasa, Annamacharya, Bhadrachala Ramadasa, ​ Kshetregna, Narayana Tirtha, P.S.Iyer, Swati Thirunal, Paidala Gurumurty Shastri, Poochi Srinivas Iyengar, Pachimirium Adiyappaiah, Arunachala Kavirayar, Gopala K. Bharati, Mahavaidyanatha Iyer. Violin - Malikkottai Govindaswamy Pillai , Tirukkodi Kaval Krishna Iyer and any 11 biographies from ​ the list given for Vocal . Vina – Mysore Doraiswamy Iyengar , S.Balachander and any 11 biographies from the list given for ​ Vocal 5. Notation of Varnam in 2 degree speed in Adi Tala 6. Raga Lakshana of prescribed ragas. Practical-III Course – 106 Stage Performance Marks- 75 INTERNAL ASSESSMENT – 25 Total – 100 Credits - 8 One advanced Swarajati, one advanced varnam in Ata tala (in two degrees of speed) 2 kritis of Muthuswamy Dikshitar (including one Navavaranam), one kriti each of Syama Sastry, Subbraya Sastri, Poochi Srinivasa Iyengar, Patnam Subramanya Iyer, Swati Tirunal, 2 Tyagaraja kritis (including one Pancharathnam) and one Ragamalika. Brief alapana of Kalyani, Kharaharapriya, Shankarabharanam, Mohanam and Kalpana Svaras in two speeds. III Semester Practical-IV Course – 107 Viva-Voce Marks- 75 INTERNAL ASSESSMENT – 25 Total – 100 Credits - 8 Recommended Books for SEMESTER-III 1. A Historical Study of Indian Music- Swamy Prajnanananda, Page No 5 to 73 2. Lakshana Granthas in Music- Dr. BhagyaLakshmi, Page 21 to 142 3. A Comparative Study of System V.N. Bhathkhande, Page 13 to 101 4. Great Musicians – Prof. P. Sambamoorthy Page No. 1 to 20, 77 to 86 5. Music Journals – Sangeet Natak Academy, Journal of Music Academy 6. Patnam Subramanya Iyer – “A Beacon light” among the post-Trinity composers by Dr. P.B. Kannakumar IVth Semester Course – 108 Theory-IV Marks – 75 INTERNAL ASSESSMENT – 25 Indian Music Total – 100 ​ Credits-4 1. Historical study of Tana, Gandharva, Marga, Desi, Prabandha, Alapa-Alapti 2. Raga Classification from medieval to modern times. 3. Patronage of music by Sabhas, Mass Media. Govt corporate 4. Biographies of Vocal - Gopala Naik, Vina Dhanamal, Mysore Vasudevachariyar, ​ Karaikudi Sambasivan, Vina Kuppayar, Chengalvarayasastri, Kavi Kunjara bharati, V.N.Bhatkhande, V.D.Paluskar, Ghanam Krishna Iyer, Subbaraya Shastri, Papanasam Sivan. Violin – Parur Sundaram Iyer , Mysore Chowdiah. And any 10 biographies from the list given for ​ Vocal Vina – Emani Shankar Shastri , Atoor Krishna Pisharoti and any 10 biographies from the list given for ​ Vocal 5. Introduction to musical forms figuring in Abhyasa gana 6. Raga lakshanas of the prescribed ragas. 7. Notation of Ata tala Varnam in two degrees 6 IV Semester Practical-V Course – 109 Stage Performance Marks – 75 INTERNAL ASSESSMENT – 25 Total – 100 Credits - 8 1. 2 Advanced Varnams (in two degrees of speed) 2. 2 Tyagaraja Kritis (including one pancharatna) 3. 2 Muthuswamy Dikshitar Kritis (including one Panchalinga kriti) 4. One kriti each of Syamasastri, Subbaraya Sastri, Papanasam sivan, Gopala Krishna Bharathi, Patnam Subramanya Iyer, one Javali, one Tillana, Brief alapana of Bhairavi, Bilahari, Saveri, Kambhoji, Madhyamavati, Suddhadhanyasi, Purvi- Kalyani 5. Prescribed Ragas & Kalpana Svaras in two speeds Todi, Dhanyasi, Gaula, Varali, Natakuranji, Suddha Dhanyasi, Hindolam, Darbar, Senjurutti, Malayamarutam, Atana. IV Semester Practical-VI Course – 110 Viva-Voce Marks – 75 INTERNAL ASSESSMENT – 25 Total – 100 Credits - 8 Recommended Books for SEMESTER-IV 1. A Historical Study of Indian Music- Swamy Prajnanananda, Page 1 to 73 2. A History of Indian Music Swamy Prajnananada , Page 83-96 3. Lakshanagagranthas in Music- Bhagyalakshmi, Page 82 to 365 4. Great Masters of Hindustani Music - Smt. Susheela Mishra. 5. Music Journals – Sangeet Natak Academi, Music Academy B.A. (H) IIIrd Year Semester System V semester Course – 111 Theory-V Marks – 75 INTERNAL ASSESSMENT – 25 Indian Music Total – 100 ​ Credits – 4 1. Notation of Kritis in Adi (Single Kalai) and Roopaka talas. 2. Raga lakshanas of the prescribed ragas. 3. Musical forms figuring in Sabha gana. 4. Detailed study of forms in manodharma sangita 5.
Recommended publications
  • Carnatic Music Theory Year Ii

    Carnatic Music Theory Year Ii

    CARNATIC MUSIC THEORY YEAR II BASED ON THE SYLLABUS FOLLOWED BY GOVERNMENT MUSIC COLLEGES IN ANDHRA PRADESH AND TELANGANA FOR CERTIFICATE EXAMS HELD BY POTTI SRIRAMULU TELUGU UNIVERSITY ANANTH PATTABIRAMAN EDITION: 2.1 Latest edition can be downloaded from https://beautifulnote.com/theory Preface This text covers topics on Carnatic music required to clear the second year exams in Government music colleges in Andhra Pradesh and Telangana. Also, this is the second of four modules of theory as per Certificate in Music (Carnatic) examinations conducted by Potti Sriramulu Telugu University. So, if you are a music student from one of the above mentioned colleges, or preparing to appear for the university exam as a private candidate, you’ll find this useful. Though attempts are made to keep this text up-to-date with changes in the syllabus, students are strongly advised to consult the college or univer- sity and make sure all necessary topics are covered. This might also serve as an easy-to-follow introduction to Carnatic music for those who are generally interested in the system but not appearing for any particular examination. I’m grateful to my late guru, veteran violinist, Vidwan. Peri Srirama- murthy, for his guidance in preparing this document. Ananth Pattabiraman Editions First published in 2010, edition 2.0 in 2018, 2.1 in 2019. Latest edition available at https://beautifulnote.com/theory Copyright This work is copyrighted and is distributed under Creative Commons BY-NC-ND 4.0 license. You can make copies and share freely. Not for commercial use. Read https://creativecommons.org/licenses/by-nc-nd/4.0/ About the author Ananth Pattabiraman is a musician.
  • Department of Indian Music Name of the PG Degree Program

    Department of Indian Music Name of the PG Degree Program

    Department of Indian Music Name of the PG Degree Program: M.A. Indian Music First Semester FPAC101 Foundation Course in Performance – 1 (Practical) C 4 FPAC102 Kalpita Sangita 1 (Practical) C 4 FPAC103 Manodharma Sangita 1 (Practical) C 4 FPAC114 Historical and Theoretical Concepts of Fine Arts – 1 C 4 ( Theory) FPAE101 Elective Paper 1 - Devotional Music - Regional Forms of South India E 3 (Practical) FPAE105 Elective Paper 2 - Compositions of Muttusvami Dikshitar (Practical) E 3 Soft Skills Languages (Sanskrit and Telugu)1 S 2 Second Semester FPAC105 Foundation Course in Performance – 2 (Practical) C 4 FPAC107 Manodharma Sangita 2 (Practical) C 4 FPAC115 Historical and Theoretical Concepts of Fine Arts – 2 ( Theory) C 4 FPAE111 Elective Paper 3 - Opera – Nauka Caritram (Practical) E 3 FPAE102 Elective Paper 4 - Nandanar caritram (Practical) E 3 FPAE104 Elective Paper 5 – Percussion Instruments (Theory) E 3 Soft Skills Languages (Kannada and Malayalam)2 S 2 Third Semester FPAC108 Foundation Course in Performance – 3 (Practical) C 4 FPAC106 Kalpita Sangita 2 (Practical) C 4 FPAC110 Alapana, Tanam & Pallavi – 1 (Practical) C 4 FPAC116 Advanced Theory – Music (Theory) C 4 FPAE106 Elective Paper 6 - Compositions of Syama Sastri (Practical) E 3 FPAE108 Elective Paper 7 - South Indian Art Music - An appreciation (Theory) E 3 UOMS145 Source Readings-Selected Verses and Passages from Tamiz Texts ( S 2 Theory) uom1001 Internship S 2 Fourth Semester FPAC117 Research Methodology (Theory) C 4 FPAC112 Project work and Viva Voce C 8 FPAC113 Alapana,
  • Composition 592 and Music History 590 Graduate Seminar 2015 Spring Term the Classical Music of India Basic Bibliography

    Composition 592 and Music History 590 Graduate Seminar 2015 Spring Term the Classical Music of India Basic Bibliography

    Composition 592 and Music History 590 Graduate Seminar 2015 Spring term The Classical Music of India Basic Bibliography Basic Readings for Course Arnold, Alison. 2000. "Profile of South Asia and its Music" in South Asia: The Indian Subcontinent. Alison Arnold, ed. New York: Garland Publishing, Inc. Catlin, Amy. 2000. "Karnatak Vocal and Instrumental Music" in South Asia: The Indian Subcontinent. Alison Arnold, ed. New York: Garland Publishing, Inc. Howard, Wayne. 2000. "Vedic Chant" in South Asia: The Indian Subcontinent. Alison Arnold, ed. New York: Garland Publishing, Inc. Kassebaum, Gayathri Rajapur. 2000. "Karnatak Raga" in South Asia: The Indian Subcontinent. Alison Arnold, ed. New York: Garland Publishing, Inc. Kippen, James R. 2000. “Hindustani Tala” in South Asia: The Indian Subcontinent. Alison Arnold, ed. New York: Garland Publishing, Inc. Miner, Allyn. 2000. “Musical Instruments: Northern Area” in South Asia: The Indian Subcontinent. Alison Arnold, ed. New York: Garland Publishing, Inc. Nelson, David Paul. 2000. “Karnatak Tala” in South Asia: The Indian Subcontinent. Alison Arnold, ed. New York: Garland Publishing, Inc. Reck, David. 2000. “Musical Instruments: Southern Area” in South Asia: The Indian Subcontinent. Alison Arnold, ed. New York: Garland Publishing, Inc. Ruckert, George and Richard Widdness. 2000. “Hindustani Raga” in South Asia: The Indian Subcontinent. Alison Arnold, ed. New York: Garland Publishing, Inc. Slawek Stephen. 2000. “Hindustani Instrumental Music” in South Asia: The Indian Subcontinent. Alison Arnold, ed. New York: Garland Publishing, Inc. Wade, Bonnie C. 2000. “Hindustani Vocal Music: in South Asia: The Indian Subcontinent. Alison Arnold, ed. New York: Garland Publishing, Inc. Background Reading Balsham, A. L. 1959. The Wonder That Was India.
  • Upcoming Sruti Concert

    Upcoming Sruti Concert

    SRUTI The India Music & Dance Society A Publication of SRUTI Volume 1, Issue 4 Fall 1998 Board of Directors President Sudhakar Rao From the Editors 610-277-1607 Dear Sruti Friends Vice President Prabhakar Chitrapu As we present this last quarterly issue of Sruti Notes for 1998, we would like to thank all the 215-616-0486 writers who contributed to the issues during the year. The active participation made it possible for us Recording Secretary to make timely presentations of news, views, reviews and other articles. We have also received en- Poornima Narayan thusiastic responses to the Quiz and the Discussion Forum introduced in the last newsletter, encour- 215-493-9091 aging us to continue these features in the future. We thank all those who sent us their responses. Corresponding Secretary In addition to the usual reports from Sruti committees, this issue contains information regarding A. Srinivasa Reddy upcoming events in the area, news from the Sruti community, reviews of recent Sruti concerts, re- 610-272-5198 sposes to the quiz and the discussion forum and an article on music improvisation. Treasurer Usha Balasubramanian 215-699-2827 For the remainder of the year, the Library Committee will be working on bringing out the 1998 issue of Sruti Ranjani, Sruti's major publication. Please send your articles related to Indian Classical Members at Large music and dance to a Library Committee member. In particular, we would very much like to hear Santi Kanumalla from the children and youth and request parents to encourage them to write on any topic related to 610-277-8955 music and dance.
  • Volume 24 December 2014

    Volume 24 December 2014

    SRUTI RANJANI Volume 24 December 2014 Table of Contents From the President’s Desk .................................................................................................................... 1 From the Publications & Outreach Committee .................................................................................. 3 Tribute to Vainika K.S.Narayanaswamy, by Rama Varma ............................................................... 4 Zakir Hussain, R.Kumaresh and Jayanthi Kumaresh in Concert, by Balaji Raghothaman ............ 9 A Dikshithar Thematic Concert, by Rajee Raman ........................................................................... 10 Mandolin Uppalapu Shrinivas (1969 – 2014): A Humble Tribute, by Ragesh Rajan ...................... 12 When signal processing meets Carnatic music: An interview with Dr. Hema Murthy, by Balaji Raghothaman .................................................. 16 Verily, A Veena Pustaka Dharini, by Ravi & Sridhar ....................................................................... 19 Update on the 4S tool, by Balaji Raghothaman .............................................................................. 23 2014 Spring & Fall Concert Photos ..................................................................................................... 24 Sruti Youth Group Update, by Priyanka Dinakar ............................................................................ 30 My Experiences with Bharatanatyam, by Zoe Dana ......................................................................
  • A Comparison of Concert Patterns in Carnatic and Hindustani Music Sakuntala Narasimhan — 134

    A Comparison of Concert Patterns in Carnatic and Hindustani Music Sakuntala Narasimhan — 134

    THE JOURNAL OF THE MUSIC ACADEMY MADRAS: DEVOTED TO m ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC V ol. L IV 1983 R 3 P E I r j t nrcfri gsr fiigiPi n “ I dwell not in Vaiknntka, nor in tlie hearts of Togihs nor in the Sun: (but) where my bhaktas sing, there be I, Narada!" Edited by T. S. FARTHASARATHY 1983 The Music Academy Madras 306, T. T. K. Road, M adras -600 014 Annual Subscription - Inland - Rs. 15: Foreign $ 3.00 OURSELVES This Journal is published as an'Annual. • ; i '■■■ \V All correspondence relating to the Journal should be addressed and all books etc., intended for it should be sent to The Editor, Journal of the Music Academy, 306, Mowbray’s Road, Madras-600014. Articles on music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. Manuscripts should be legibly written or, preferably, type* written (double-spaced and on one side of the paper only) and should be signed by the writer (giving his or her address in full). The Editor of the Journal is not responsible for the views ex­ pressed by contributors in their articles. JOURNAL COMMITTEE OF THE MUSIC ACADEMY 1. Sri T. S. Parthasarathy — Editor (and Secretary, Music Academy) 2. „ T. V. Rajagopalan — Trustee 3. „ S. Ramaswamy — Executive Trustee 4. „ Sandhyavandanam Sreenivasa Rao — Member 5. „ S. Ramanathan — Member 6. „ NS. Natarajan Secretaries of the Music 7. „ R. Santhanam > Academy,-Ex-officio 8. ,, T. S. Rangarajan ' members. C ^ N T E N I S .
  • Ragas Are There? — P

    Ragas Are There? — P

    THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LXII 1991 mimumHHmMjUUMmBimMlIBBBBBBBlIBBBBUIlllIHlBW" ■■nBBBBBBBBBBBflBBBBBBBflBBBBBBBBBBBBM 5n? * jiffitfro to* i tr^TT to nrafci to firoiftr n “I dwell not in Vaikuntha, nor in the hearts of Yogins nor in the Sun; (but) where my bhaktas sing, there be I, Narada!” Edited by T. S. PARTHASARATHY The Music Academy, Madras 306, T.T.K. Road, Madras-600 014 Annual Subscription - Inland Rs.40: Foreign $ 3-00 V OURSELVES This Journal is published as an Annual. All correspondence relating to the Journal should be addressed and all books etc., intended for it should be sent to The Editor Journal of the Music Academy, 306, T.T.K. Road, Madras - 600 014. Articles on music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. Manuscripts should be legibly written or, preferably, typewritten (double-spaced and on one side of the paper only) and should be signed by the writter (giving his or her address in full.) The Editor of the Journal is not responsiblev«r for the views expressed by contributors in their articles. CONTENTS . PAGE y The 64th Madras Music Conference - Official Report — 1 Advisory Committee Meetings — 19 The Sadas — 52 Margadarsi Whom Swati Tirunal Followed — T.S. Parthasarathy — 72 Compositions of Ettayapuram Rulers -—Dr. Gowri Kuppuswamy & Dr. M. Hariharan — 82 Development of the Repertoire in Modern Bharata Natyam —-Annie-Marie Gaston (Anjali) — 95 Tana Varnam - Its Identity and Significance -—Lalita Ramakrishna — 135 How many Janya Ragas are there? — P.
  • DU MA Karnatak Music

    DU MA Karnatak Music

    DU MA Karnatak Music Topic:- DU_J19_MA_KM 1) The famous Swarajati of Shyamasastri [Question ID = 1563] 1. Sadayahayika [Option ID = 6252] 2. Sambasivayanave [Option ID = 6250] 3. Kmakshi amba [Option ID = 6251] 4. Rara Venu [Option ID = 6249] Correct Answer :- Rara Venu [Option ID = 6249] 2) The Mudra of Kshetrayya [Question ID = 1594] 1. Muvvagopala [Option ID = 6373] 2. Varadayya [Option ID = 6376] 3. Kshetrayya [Option ID = 6375] 4. Kshetrapala [Option ID = 6374] Correct Answer :- Muvvagopala [Option ID = 6373] 3) Marathi musician who adorned the court of Tanjore and Travancore [Question ID = 1586] 1. Narayanaswami Appa [Option ID = 6341] 2. Adiyappaih [Option ID = 6343] 3. Meru swami [Option ID = 6342] 4. Margadarshi [Option ID = 6344] Correct Answer :- Narayanaswami Appa [Option ID = 6341] 4) The Raga by which famous Veena Kuppayyar came to be known as [Question ID = 1560] 1. Reetigoula [Option ID = 6240] 2. Narayangoula [Option ID = 6239] 3. Charukesi [Option ID = 6237] 4. Kharaharapriya [Option ID = 6238] Correct Answer :- Charukesi [Option ID = 6237] 5) The Raga by which the singer Seetharamayya came to be known as [Question ID = 1533] 1. Bhairavi [Option ID = 6129] 2. Todi [Option ID = 6131] 3. Saveri [Option ID = 6130] 4. Begada [Option ID = 6132] Correct Answer :- Bhairavi [Option ID = 6129] 6) Famous Padam composer [Question ID = 1570] 1. Subbaraya Sastri [Option ID = 6280] 2. Syamasastri [Option ID = 6279] 3. Tyagaraja [Option ID = 6278] 4. Ghanam Krishna Iyer [Option ID = 6277] Correct Answer :- Ghanam Krishna Iyer [Option ID = 6277] 7) Ancient Tamil Music Pan - Kousikam is equal to [Question ID = 1557] 1. Poorvi Kalyani [Option ID = 6227] 2.
  • Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati

    Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati

    Component-I (A) – Personal details: Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati. Prof. R. Thiagarajan Presidency College, Chennai. Dr. V. Premalatha Sri Venkateswara University, Tirupati. Prof. Ritha Rajan Music Academy, Chennai. 1 Component-I (B) – Description of module: Subject Name Indian Culture Paper Name Indian Aesthetics and Fine Arts Module Name/Title Musicians of south India-1 Module Id I C / IAFA / 26 Pre requisites An interest to know about the famous musicians of South Indian Classical music Objectives To know a short biographical sketch and achievements of some eminent musicians who were Vocalists of South Indian Classical Music. to enable a student to know such great personalities who were monumental in bringing the glory of the Classical Music art to the World through their performances. Keywords Parameshvara Bhagavatha, Mysore Vasudevacharya, Tiger Varadacharya, Parupalli Ramkrishnayya Pantulu, Ariyakudi Ramanuja Iyengar, Maharajapuram Vishwanatha Iyer, Chembai Vaidyanatha Bhagavathar, Chittoor Subramania Pillai, Titte Krishna Iyengar, Semmangudi Srinivasa Iyer, G N Balasubramaniam, Madurai Mani Iyer, Sripada Pinakapani, Ramnad Krishnan, M D Ramanathan, K V Narayanaswamy, Nedanuri Krishnamurthy, M L Vasanthakumari, D. K. Jayaraman, Voleti Venkateswarulu E-text (Quadrant-I) : Introduction In this module, let us get familiar with some of the great musicians (Vocalists) who lived in the past hundred years and had elevated the glory of Indian Classical music to the whole world. This module presents a short biographical note including the achievements of the musicians and at the end an URL is supplied which would help you to listen to the recordings of the veteran musicians. The list is perhaps not exhaustive and is presented in the chronological order.
  • Contribution of Music Trinity

    Contribution of Music Trinity

    Contribution of Music Trinity (Proceedings of the National Seminar - 2018) Editor Dr. V Premalatha Central University of Tamil Nadu Thiruvarur 2020 ISBN: 978-93-5407-985-6 Contribution of Music Trinity (Proceedings of the National Seminar -2018) (A Collection of Peer reviewed papers presented at the National Seminar on Karnataka Music, in February 2018, organised by the Department of Music, Central University of Tamil Nadu, Thiruvarur). Edited by Dr. V Premalatha Head, Department of Music Dean, School of Performing Arts and Fine Arts Central University of Tamil Nadu, Thiruvarur. Published by Central University of Tamil Nadu, Thiruvarur. Editorial Board (Peer - Reviewers) 1. Dr. V Premalatha 2. Prof Ritha Rajan 3. Prof Mandapaka Sarada 4. Dr. R S Jayalakshmi 5. Dr. Arati N Rao First Edition - 2020 © Central University of Tamil Nadu Thiruvarur Contribution of Music Trinity (Proceedings of the National Seminar -2018) Edited by Dr. V Premalatha Head, Department of Music Dean, School of Performing Arts and Fine Arts Central University of Tamil Nadu, Thiruvarur Published by Central University of Tamil Nadu, Thiruvarur 2020 Dr. V Premalatha Dean, School of Performing Arts and Fine Arts Head, Department of Music Central University of Tamil Nadu Thiruvarur - 610005 Editorial Note Thiruvarur is known to be a holy land of Music and is the birth place of the Trinity of South Indian Classical Music. The Department of Music was established at the Central University of Tamil Nadu, Thiruvarur in the year 2016-17, which happened to be the 250th birth anniversary of Sri Tyagaraja, one of the Trinity of Music. A National seminar on the “Contribution of Trinity to Karnataka music” was organised in February 2018.
  • Ariyakudi Ramanuja Iyengar

    Ariyakudi Ramanuja Iyengar

    ARIYAKUDI RAMANUJA IYENGAR Prof. V. V. Sadagopan The Golden Jubilee of Ariyakudi Ramanuja Iyengar's musical career was celebrated recently. Half a century, by all known standards, is a long period for a musician to maintain continued popularity. He is 76. Even if we exclude the first 10 years when he was rising in the profession, we have a period offorty years during which he has remained continuously at the top. His popularity is truly phenomenal; over many years he has been a major influence in the field of Karnatak Music. Two generations of musicians who came after him have adopted in varying degrees his techniques in music and concert-craft. The different styles of later musi­ cians, almost all of them, have their roots in the tradition and style refined and propagated by him. The other major tradition belongs to Maharaja­ puram Visvanatha Iyer, another equally great performer. The significance of Ariyakudi's art and life becomes clear as we take a historical perspective of things. At the dawn of the present century, there began a wave of enthusiasm for theoretical studies in Karnatak music. Much was made of the printed word and notation. Books were written in Telugu and Tamil, and the theory and rules of grammar put forward generally conflicted with one another and were often at variance with practice and yet were avidly swallowed by music-lovers and musicians at various levels of understanding. Among the latter those who took to the textual theories were not always first-rate exponents of the art. The main body of expert musicians, however, was concerned mainly with the execution of the art as such, and most of them were dedicated nadopasa­ kas.
  • A Stately Concert with the Audience & Prince Rama Varma’S Concert on Dec

    A Stately Concert with the Audience & Prince Rama Varma’S Concert on Dec

    Volume: 6 Issue: 3 Dec.24 2019 For Private Circulation Only SRI PARTHASARATHY SWAMI SABHA Email : [email protected] http://sriparthasarathyswamisabha.com/ A stately concert With the audience & Prince Rama Varma’s concert on Dec. 19, 2019, began with a rich for the audience Kambodhi - Ata Tala varnam composed by Vadivelu of the Tanjore Quartet. Next piece was an extravaganza! Prabho Rakshamam by Meenakshi Sudhan in Natai with neat and fast swara prastharam. In contrary to the previous piece, came the slow paced yet royal Sankarabharana alapana by the ‘Prince’ Stamp sangatis of Swara ragasudha of Tyagaraja were exchanged by the vocalist and violinist leaving the audience to guess but, presented was Bagu miraganu nato by Vina Kuppaiyar! A beautiful krti with crisp Chittaswaram followed by Swara prastharam at Ni Lavanyamu which was quite Rajesh Vaidya, who played veena to a near-full hall, on Dec. 18, engaging. The muktaya was set in the pattern of 6, like that of the 2019, made a judicious choice of songs that endeared him to the Chittaswaram. audience. Belligerent as it sounded, the concert began with ‘Entharo Mahanubavulu’ in Sri Ragam and quietly took on Ganamoorthe (Ganamoorthi). Things were quiet for a while, but then came on Sudhamayi Sudhanidhi, in Amruthavarshini, a song that is known for its pace from the days of GNB. The audience was in great enjoyment by this great mix. This was part one of the concert. Part two had a different take. It was again a discrete choice of rasika-friendly songs that had at its core the janaranjakam aspect.